A Quick Q&A With Charlotte Courbe
‘Le Volume Courbe’ is the brainchild of singer/producer, Charlotte Courbe. Described as, ‘the female Sid Barrett’, the French-born musician has resided in the UK for the last twenty-five years, collaborating with the likes of Primal Scream, My Bloody Valentine, and of course, Noel Gallagher’s High Flying Birds. We spoke to Charlotte ahead of the release of ’Fourteen Years’, the first of three EPs that will combine to make a third album by the cape-wearing-scissor-playing-enigma.
Charlotte, first and foremost, thank you for your time and allowing us to speak with you. Nat sent us over the EP (Thanks Nat), it’s stunning, so congratulations. Before we dive head-first into the new record, we want to talk a bit about your earlier life, if possible. You relocated from France to London in 1995 and you were signed to Alan McGee’s Poptones label in 2001. We’re interested in that six-year period from when you first arrived in London to when you were signed. Would you regard that time as your ‘formative’ years as a musician, or is music something you were pursuing back in France?
Before moving to London, I was in a band in France called ‘Toyns’. I joined at secondary school and carried on until I moved to London so for 3 years or so. It was influenced by the Stooges & Sonic Youth with distorted guitars, but very melodic. I hold very fond memories of rehearsing every Saturday afternoon with my friends.
When I moved to London, I started organising little tours for French bands over to England. While doing this in 1996, I met Keith Cullen who ran a record label called Setanta which had signed The Divine Comedy and Edwyn Collins.. it focused mainly on Irish acts. I told Keith my dream was to work in a record label. After one drink he said, “come on Monday!”
In 1998, I worked in a record shop for a couple of years called ‘Totem’ in East London. I also decided to go back to college and studied photography at the London College of Printing (now LCC) until I got signed by Alan in 2000. During all this time I always made music on my 4 tracks. The first person I recorded with in London was this guy called Ant Hines. I didn’t know him. I remember meeting him in a pub in Camden and playing him a song, I had in my Walkman! I then went to his house every week. It could have been a first album, but I didn’t think of making record then. I just loved recording. Ant has now been one of the writers for Sacha Baron Cohen for years. I also made music with my flatmate Damon etc.. But I was first and foremost a music fan who wanted to work for others. It’s when I met Hope Sandoval & Kevin Shields in 1997, and both told me I should make a record that I considered doing it..
In 1997, when I worked at Setanta Records, Keith introduced me to Simon Raymonde of the Cocteau Twins, as he was looking for a girl to sing. We recorded a duet called ‘In My Place’ for his first solo album. It was a Robert Mitchum cover. It’s the first record I featured on. So, my first London years were more of a continuation but formative still..
Your first record, ‘I Killed My Best Friend’, was released in 2005 via Honest Jon’s. It featured collaborations with the likes of Kevin Shields, Colm Ó Cíosóig, Hope Sandoval, and David Roback. Having taken a look through your discography, you’ve collaborated with a variety of musicians/personnel – how important is collaborating for you as an artist?
I love collaborating with friends. I find it lonely making music on my own. I mostly like to work with musicians I have a meaningful connection with. I feel that it brings some magic to the recording and create lovely memories.
The personnel on your forthcoming EP, ‘Fourteen Years’, includes Terry Hall, Terry's son Theodore and Noel Gallagher, all of which feature on a cover of Daniel Johnson’s ‘Mind Contorted’. Firstly, can you elaborate on the decision to include a cover upon the EP?
I love doing covers. I include them on all my records. Terry Hall and I are both huge fans of Daniel Johnston and we recorded this around 2012 I think, and it was time it came out!
You’ve been quoted as saying recording the EP, “became a vital thing”, following a cancer diagnosis. Most importantly, we hope you’re okay and you’re well. Following that awful news, do you think the EP has become a lot more personal?
I don’t know if it’s more personal than the others but definitely more radical..
There are some real nice avant-garde moments on the EP. Were there any key musical influences behind the EP? Or is there anyone you constantly reference whilst in the studio?
Not really. With the MRI song, the reference just came from being scanned prior to getting the cancer diagnosis. It was definitely the highlight of this horrible and surreal experience. I loved it. It was so intense and mad. I was inside the machine and felt I was hearing a techno track, so I decided I wanted to make a little techno track. I uploaded some real MRI sounds online and asked Shelley Parker to add a beat to it and then added the violin played by Mel Draisey to add a human dimension. It’s my first and last cancer song.
What should people expect from this EP?
I don’t know. A window into my world I guess.
Can you describe your sound in three words?
Intense, melodic, and cheeky.
You became a figure of controversy following your appearance as a scissor player with Noel Gallagher’s High Flying Birds on Jools Holland. I personally loved it, but it did send a lot of people into a frenzy. Firstly, how did you and Noel meet and how did it lead to becoming a scissor player within the group?
David Holmes was producing his album, ‘Who Built The Moon’, I have known David for quite a few years. He’s always loved my music and one day he messaged me saying, “Would you like to do some vocals for the Noel Gallagher album?” I recorded a French spoken word for his track ‘It’s A Beautiful World’, and then Noel asked me if I could come and do this spoken word live at the first gig. He also asked me if I could play the tambourine before the spoken word happened. I said, “of course!”, but as the gig was approaching; I started getting nervous about playing the tambourine, so I said, “by the way I also play scissors!” He loved it and the rest is history.
You’ve become a key member of the High Flying Birds band, contributing vocals on ‘It’s A Beautiful World’. Having caught the group a number of times over the last few years, the band seems to be ever evolving and expanding. However, it has to be said, there feels like a real ‘family’ spirit when you’re all on stage. What is the vibe like within the band?
The vibe was truly amazing when we started touring. We all got on so well. It felt magical. It was like a platonic Fleetwood Mac!
Finally, we must ask, how many capes do you own?
About 8 to 10 I think!
Charlotte kindly sent over some images of her cape collection; we at Yuck Magazine can confirm no one in the universe will come close.
Psychedelic bonus round: You’re the owner of a Grateful Dead-esque psychedelic bus, (we’ll say this is a hybrid for environmental reasons), you’re touring around the universe with no limitations; the Antarctic, Jupiter, Hull... anywhere! Who are you taking with you to form your band and where are you going on tour?
I would take the band I had a few years back (Chris Mackin, Mel Draisey, Theodore Hall, Wildcat Will, Lascelle Gordon and Barney Slater) because they are sweethearts and a good laugh and I would drive them on the M25 in circles.
